In this paper, I draw a distinction between two types of deepfake, and unpack the deceptive strategies that are made possible by the second. The first category, which has been the focus of existing literature on the topic, consists of those deepfakes that act as a fabricated record of events, talk, and action, where any utterances included in the footage are not addressed to the audience of the deepfake. For instance, a fake video of two politicians conversing with one another. (...) The second category consists of those deepfakes that direct an illocutionary speech act - such as a request, injunction, invitation, or promise - to an addressee who is located outside of the recording. For instance, fake footage of a company director instructing their employee to make a payment, or of a military official urging the populace to flee for safety. Whereas the former category may deceive an audience by giving rise to false beliefs, the latter can more directly manipulate an agent's actions: the speech act's addressee may be moved to accept an invitation or a summons, follow a command, or heed a warning, and in doing so further a deceiver's unethical ends. (shrink)

One recurrent objection against minimalism is that minimal contents have no theoretical role. It has recently been argued that minimal contents serve to draw the distinction between lying and misleading. In Sect. 1 and Sect. 2 I summarise the main argument in support of that claim and contend that it is inconclusive. In Sect. 3 I discuss some cases of lying and some of misleading that raise difficulties for minimalism. In Sect. 4 I make a diagnosis of the failure of (...) minimalism with those cases. In Sect. 5 I strengthen the case against minimal contents by addressing two received says-based definitions of lying. My analysis of the failure of minimalism suggests that the distinction between lying and misleading, at least in some important cases, calls for a kind of utterance content that is grounded on conventions of language. (shrink)

Says-based definitions of lying require a notion of what is said. I argue that a conventions-based notion of utterance content inspired by Korta and Perry’s (in: Tsohatzidis (ed), John Searle's philosophy of language: Force, meaning, and thought, Cambridge University Press, 2007a) _locutionary content_ and Devitt’s (Overlooking conventions. The trouble with linguistic pragmatism, Springer, 2021) _what is said_ meets the desiderata for that theoretical role. In Sect. 1 I recall two received says-based definitions of lying and the notions of what is (...) said that have been proposed for them. In Sect. 2 I recall the desiderata that a notion of content must fulfil in order to cover the role of what is said in says-based definitions of lying. In Sect. 3 I discuss the points that Korta and Perry’s _locutionary content_ and Devitt’s _what is said_ have in common with respect to the centrality that linguistic conventions have for the constitution of utterance contents. In Sect. 4 I argue that a conventions-based notion of utterance content meets the desiderata for the role of what is said in says-based definitions of lying and has some important advantages over the notions of what is said that have been so far proposed. In Sect. 5 I point out the impact that the debate over the definition of lying has on the semantics/pragmatics divide in philosophy of language. (shrink)

It is widely held that all lies are assertions: the traditional definition of lying entails that, in order to lie, speakers have to assert something they believe to be false. It is also widely held that assertion contrasts with presupposition and, in particular, that one cannot assert something by presupposing it. Together, these views imply that speakers cannot lie with presuppositions—a view that Andreas Stokke has recently explicitly defended. The aim of this paper is to argue that speakers can lie (...) with presuppositions, and to discuss some of the implications this outcome has for current research on lying, assertion and presupposition. (shrink)

This paper develops an account of accuracy and truth in pictorial assertion. It argues that there are two ways in which pictorial assertions can be indirect: with respect to their content and with respect to their target. This twofold indirectness explains how accurate, unedited pictures can be used to make false pictorial assertions. It captures the fishiness of true pictorial assertions involving target-indirectness, such as true pictorial assertions involving outdated pictures. And it raises the question whether target-indirectness may also arise (...) in linguistic assertion. (shrink)

We intuitively make a distinction between _lying_ and _misleading_. On the explanation of this phenomenon favored here—the _adverbial_ account—the distinction tracks whether the content and its truth-committing force are literally conveyed. On an alternative _commitment_ account, the difference between lying and misleading is predicated instead on the strength of assertoric commitment. One lies when one presents with full assertoric commitment what one believes to be false; one merely misleads when one presents it without full assertoric commitment, by merely hinting or (...) otherwise implying it. Now, as predicted by the well-supported assumption that we can also assert with pictures, the lying/misleading distinction appears to intuitively show up there too. Here I’ll explain how the debate confronting the two accounts plays out both in general and in that case, aiming to provide support for the adverbial account. (shrink)

In a recent paper, James Edwin Mahon argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon’s account underdetermines the content of literary works; novels have rich layers of content and can contain what I call ‘profound’ assertions, and ‘background’ assertions. I submit that Mahon therefore fails to establish that novels (...) never lie. (shrink)

This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. (...) However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels. (shrink)

Lying requires asserting a disbelieved proposition, that much is widely accepted in the debate on how to define lying. But what else is required? Does lying require a particular linguistic manner of expression, such as saying? Does the proposition asserted have to be false (and not merely disbelieved)? And does lying require an intention to deceive? The aim of this chapter is to provide an opinionated introduction to the debates on these questions that takes into account both theoretical considerations and (...) empirical data. (shrink)